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I was riding in the car with my son, just the other day. He recently turned 7. As we approached my old studio, which I left in 2013, he let out a big sigh. It was demonstrative, that sigh.

Weighted.

“I miss your old studio,” he said. “I miss the good old days. Those were some good times, back then. We used to look at animal videos on Youtube, and play with stuff, and Juma the barber was still alive. He used to give me pretzels. We’d visit the Montoyas. Your landlords. They’re nice people, and they’re going to die soon too.”

“Those were some good times,” he finished.

Again, I stress this child is 7.

“You mean,” I said, “that you miss the days when you were 4? Back when life was simpler, and you didn’t have to do homework in 1st grade?”

“Exactly,” he answered.

“There’s a word for that,” I said. “It’s called nostalgia. It means you long for the easy days of your youth. It’s a kind of sadness that makes you feel good at the same time. It’s a complicated emotion. A first for you, I think.”

“Nostalgia,” he said. And then promptly forgot the word. But we did stop the car to visit the Montoyas, who are nearing 90, unwell, and not long for this world. His deep sigh, which kicked off the entire conversation, led us to visit our elders, which is always a mitzvah.

It’s funny how that thought-pattern seems so deeply ingrained in the human psyche. Did our ancestors used to say things like,

“Grog, I really miss that cave we used to live in, back in those mountains over that way. You know, the one by the broken tree near that river? The smell of bat shit was so pungent, its true, and we never saw the sun. But those were some good times, in that cave, making fires and painting horses on the wall with berry juice.”

I wonder.

I wonder, especially now, having just put down “Woodlands,” a new book by Berhnard Fuchs, published by Koenig. Back in 2011, when I first started this book review column, I reviewed a book by Mr. Fuchs. Those were some good days. I don’t remember his book, exactly, but if I hadn’t liked it, I wouldn’t have written about it.

This one, entirely made of color landscape pictures, was photographed in the land of his youth. I’m guessing it’s Germany, but I suppose it could be Austria.

Either way…

In a short, but relevant opening passage, Mr. Fuchs says these tree-filled hills bring him back to his youth, and give him a feeling of “everydayness.” (Which is a kind way of saying it all looks alike.)

You can feel the longing buried amongst the snow and gray skies. There are green, summery pictures too, for sure, but they all deny me the deep horizon that I crave, living in New Mexico, where I can see for 100 miles. They’re claustrophobic, these pictures, and there are a lot of them.

By the end, I was rushing through to get to the end, so I could breathe again. There are a few photographs that are stellar, on their own, but mostly, this is another experiential book.

You feel the place.

You get nostalgic, even if it’s for a city somewhere, or an island, or a waterfall that’s only for you.

There are no cultural markers here. No road signs. No irony, really. It is what is says it is. Woodlands.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Chris Simpson. I love him not only as an artist, but as a person. He has an unique style and is great to work with.

A simple citrus salad, I love the colors and shapes in this dish.

Working with a variety of cured meets and coming up with a playful arrangement.

Shot a few steaks for my book recently.

Onion Rings.

This is a classic summer recipe; the texture of the corn is beautiful.

Finding beautiful ingredients at the farmers market and bringing them back to the studio.

Creating a little narrative within the shot.

A coffee pour that I shot in order to get a project.

Chocolate Layer Cake and Truffle With Sea Salt

A shot that I took for Jell-O. This was the food stylist’s first attempt at making this perfect swirl. We tried many other variations but ultimately it was the first shot that stuck.

A recent campaign that I did for Lactaid, the campaign featured 6 different food and drink items all in different environments.

One of my first clients, it was great working with the client and agency on developing a way to showcase how thin the pretzels are and also show the front of them.

I repurposed some shots I did for AVON in order to make this composition.

My assistant must have dropped this bottle 80 times in order to get this shot.

How many years have you been in business?
I have been shooting professionally for about 3 years now.

Are you self-taught or photography school taught?
I graduated from Maryland Institute College of Art (MICA), with a BFA in photography. My four years there really helped to hone my eye and expand my creative sensibilities. I’ve also learned a tremendous amount in regard to the business end of photography as well as photographic techniques from working in the field. The knowledge I’ve gathered from those experiences coupled with my formal education is how I learned to make a career out of photography.

Who was your greatest influence that inspired you to get into this business?
Throughout my career in photography there have been many people who have inspired me, teachers, peers, photographers I have assisted and photographers who’s work I admire, but nobody has inspired me as much as my Father, Jerry Simpson. My Father is an incredible director and cinematographer who started out as a print photographer. I have been lucky enough to work side by side with him on various shoots, where I do the stills and he shoots motion for clients. While working with him I have also learned a lot about motion, assisting him with shoots and even collaborating with him on projects. He has pushed me to achieve goals that sometimes seem impossible and has taught me a ton about the business.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I find inspiration in many different outlets: new restaurants I eat at, books I’m reading, meeting new people and places I’ve visited. Living in New York City is hugely inspirational too, there are always new shows to go to, new foods to eat. I’m constantly inspired by my surroundings and new experiences. All of this helps me to push the envelope, keep my eye sharp and come up with new ideas. I find that sometimes when my mind is clear and I’m not thinking about photography ideas pop into my head that then develop into images later on. It’s funny, a lot of times I won’t know that something has inspired me until a week, month or year later when that moment will reappear and push me to shoot something new. It’s also important for me to keep testing, through shooting personal work I’m able to work out ideas and develop different concepts.

I have also been able to travel extensively for work and for pleasure over the years. It’s always inspiring to be able to get on a plane and wind up in a completely different environment. Experiencing different cultures and different ways of life is very influential for me.

Do you find that some creatives love your work but the client holds you back?
I truly enjoy the collaborative process of working with a team of creative folks and clients. Usually clients are excited to work with me because they love my work and trust me. I like working with other people and I’m comfortable articulating my vision to people that may not see what I’m seeing. Developing this trust is important and ultimately leads to the best end result.

What are you doing to get your vision out to the buying audience?
I have found that most of my success comes from face to face meetings with people. I try and schedule meetings with buyers and creative people on a monthly basis. Most of this is up to me as I don’t have a rep, but I enjoy the process and know it’s all part of the career. I’ve been fortunate enough to meet some great Art Buyers and Creative folks that are always happy to help me get meetings and give me feedback on what I’m doing. It’s always flattering to me that people who meet me for the first time are so willing to help me.

Personalized emails are also hugely beneficial, it doesn’t take much to reach out to someone and ask them about what they are doing. Being interested in other people in the business and wanting to know their perspective always helps in developing long lasting relationships.

What is your advice for those who are showing what they think the buyers want to see?
Don’t do it. I can’t say enough about making work for yourself and pushing what you enjoy, the paid work will follow. It’s a bad cycle to produce work that you think people want to see, and as you do that you drift further away from what you want to be doing. Creatives, buyers and photo editors are so much more likely to higher you because they find your work to be amazing as opposed to seeing something that fits a campaign or story. Having edgy and interesting work is how you get your first projects and from there it keeps building.

I try to challenge myself constantly and put myself into situations that I’m not 100 percent comfortable with. Whether that’s in the studio or on location, it can be as simple as trying to light something that I have never had to light before or experimenting with a new camera or lens. It’s important to do this work on your own so that when a job comes along that’s challenging you are prepared for it.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Always, I feel strange if I don’t. I’m constantly thinking up new projects that I want to work on. It’s easy for me to go to the farmers market and develop new shots in my mind, and then before I know it I’m in the studio creating new work. I find that I’m constantly inspired to develop my work, and at the moment I’m editing a large body of travel photography. If I’m feeling stuck I go for a bike ride or head up to the woods and go camping for a night.

How often are you shooting new work?
As often as I can, if I’m not busy I try and shoot for myself at least a few times a month. For me it’s a downward spiral if I’m not creating, I feel much better when I’m making work.

——————–

Since Chris was young he has always had a strong passion for photography, after seeing his first black and white image appear in the darkroom he was hooked. He decided to continue his passion when he enrolled in Maryland Institute College of Art (MICA). He received his BFA from MICA and quickly moved to Brooklyn, New York.

Since moving to New York his photography has taken him to countries such as St. Vincent and the Grenadines, Portugal, and Italy. He has worked for such clients as AVON, Johnson & Johnson, and 7-UP. He enjoys the collaborative process of photography and being able to help clients reach their visions. He loves that through photography he has been given opportunities to meet some of the most amazing people through out the world.

If Chris is not photographing or editing images, he enjoys cycling, camping and cooking meals with good friends.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information. Follow her@SuzanneSease.

I sent takedown notices to a store selling phone cases, to Etsy for an artist hawking pirated prints of a fire ant, and to Twitter for an exterminator heading his company account with one of my bed bug photographs.This rate of commercial infringement is normal, as photographers and other online visual artists can attest. I deal with most cases by using a provision of the 1998 Digital Millennium Copyright Act DMCA that requires Web hosts to remove infringing content when informed. I send, on average, five takedown notices to Web hosts every day, devoting ten hours per week to infringements. Particularly egregious commercial infringers get invoices.

I actually have let a few of my most commonly infringed images go unenforced. I could not keep up, so I left these as a natural experiment. The result confirmed what I suspected: images that become widespread on the Internet are no longer commercially viable. Thousands of businesses worldwide now use one of my Australian ant photographs to market their services, for example, and not a single paying client has come forth to license that image since I gave up.

Copyright infringement for most artists is death by a thousand paper cuts. One $100 infringement here and there is harmless enough. But they add up, and when illegal commercial uses outnumber legal ones 20 to 1 in spite of ambitious attempts to stay ahead, we do not have a clear recourse. At some point, the vanishing proportion of content users who license content legally will turn professional creative artists into little more than charity cases, dependent only on the goodwill of those who pity artists enough to toss some change their way.

Many photographers and photo editors have asked me to look into rates for social media use. I reached out to Suzanne Sease for the first of what will be a series of articles looking into the pricing and usage. – rob

When Rob asked me to reach out to Art Directors and Art Producers to get an idea of what photographers are charging for social media, I got a surprising lesson. Since I was an Art Producer for over 20 years, I am very fortunate to be able to reach out to those currently in the field. To get a more complete understanding of pricing I spoke with people from traditional advertising agencies to social media ad agencies to in house corporate ad agencies. These businesses were all over the country from large to small cities.

I found quite a range in pricing with free use from amateurs to inexpensive stock to photographers shooting original content making the best rates. Several articles I found mentioned clients taking the ad budget for TV and allocating it to social media to use the free venues (Facebook, Twitter, Instagram, Tumblr, Pinterest, Vine, YouTube to name a few) to promote their brand. Because these venues are free, clients sometimes put little value in paying for images. Many have social media marketing rolled into use by asking for unlimited. Some said they spell it out like consumer print, social and internet because they don’t need trade. If they don’t have a great budget they will not ask for unlimited because it is print where the money is spent and social is thrown in.

Many clients doing social media only are looking for stock and a Senior Art Producer at large top agency I talked to said they pay as little as $50.00 to $65.00 per image for use with top brands. The images were anything from a scuba diver, grandfather and grandson fishing, a campfire, sandcastle on the beach, and cows grazing that were shot well. These images came from Getty, Masterfile, Corbis and Shutterstock.

One Creative Director at a social media advertising agency said they felt that places like Flickr, Tumblr and Instagram were going to make a photographers business harder while another Senior Art Producer said that Flickr was a dangerous alternative, because releases are not filed and determining if the person who posted the image is actually the true owner of the copyright can be difficult. They said they will only work with known stock companies because their contracts protect as well as indemnify their client. Another Senior Art Producer at another large International ad agency said they recommend clients purchase royalty free images from $300 to $500 each so they can use it forever. They also said that banner ads would price between $500 and $700 for year with a rights managed image. If they used rights managed images for social media, the range is $300 to $500 for the year.

There are some photographers who have positioned themselves to work on social media campaigns. I interviewed one photographer who has been asked to do many social media only campaigns and the fees have a huge disparity because of different client budgets. On the high end, they got around $8,000 for 6 shots in 1 day of shooting.On the low end was $650 for one image/unlimited usage. They said that most clients are looking for quick images that do not have the detail and production value of a print shoot. On the average shoot, the client wants up to 25 images with social media use only for around $5,000.

The best way to position yourself is to be on a retainer for a client so you can shoot when the client has an immediate need (sometimes in real time). This goes for about $10,000 a month for social media use only.

A Creative Director at a social media ad agency said they would pay $500.00 for a one image shoot with lasting 2-3 hours total (pre-pro, shoot and edit). This is how fast clients want to get their social media marketing up. And for shoots when they need 15-25 images in one day, their client pays $2,000 max. Some clients will have usage based on time but more and more are asking for unlimited.

An example of the speed of the images needed, if you remember during the 2013 Super Bowl when the power went out, it was the ad agency for Oreo (360i) who sent this tweet out and it was advertising gold. It was because usage had been covered in the original negotiation that allowed them to tweet it.

And then there is Real Time, where someone is hired to shoot and send images out as they are shot. The fashion industry likes to do this as well as brands holding an event to get more people to the event. In this situation they will pay about $1,000 to $2,000.00 per day plus expenses for a full buyout.

Finally and unfortunately in some cases advertisers are starting to use everyday people to add to their social media marketing to give their brand more attention. They are not paying for the rights to use those image.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information believing that marketing should be brand driven and not specialty. Follow her at SuzanneSease.

I once made fun of the Chinese government. It’s true. You can look it up in the APE archives. I was defending Ai Weiwei, when he was unfairly incarcerated, and I said some rather indelicate things.

These days, the evil enemy de rigeur is ISIS, or ISIL, depending on which acronym you prefer. Those guys are genuinely awful, but I think I’ll stop short of name calling this time.

Why?

Because those fuckers are so crazy, and Internet-Savvy, they might just send a sleeper over the Mexican border to come chop off my head. So, to be clear, I’m not making fun of you, ISIS. I’m merely pointing out your preference for horrifying, anarchic violence, in the name of worshipping your deity. (Different strokes, different folks, I always say.)

One of the sad facts of the ISIS ascendance is that they cast a pall over the many millions, if not billions, of peaceful, law-abiding, God-loving Muslims around the planet. Those folks wouldn’t behead a fly, unless it was buzzing around their head incessantly. Then, maybe they’d just swat at it, trying desperately to make it go away, before they had to resort to insect murder.

Please, Mr. Fly, go somewhere else. Leave me alone. I bear you no ill will. I will not kill you unless you leave me no choice.

Muslims are people, like Jews and Christians and Buddhists and Hindus and Zoroastrians. Here in the United States, we talk a good game about respecting religious freedom. Hell, I can even remember that classic asshole George W. Bush declaring that Muslims were not the enemy, right after 9/11, and right after he put Iran and Iraq on the Axis of Evil list. (Mixed messages much, George?)

We may allow religious freedom here, but that doesn’t mean it flies elsewhere, even in the developed world. Apparently, though Islam is the second largest religion in Italy, after Catholicism, there are only 8 official mosques in the entire country. How can I rattle off this specific statistic so easily?

Good question.

I read it in a Martin Parr-scribed introduction to “Hidden Islam,” a new book by Nicolo Degiorgis, recently published by Rorhof, in Italy. The book is subtitled “Islamic Makeshift Places of Worship in North East Italy, 2009-2013,” so let’s not count this one among the many books that try to fool you, or dare you to figure out what the heck is going on.

Frankly, I really liked the clarity. It helped me adjust to the bleak, generic, black and white buildings that are broken down into categories on the cover as well. (Warehouses, shops, supermarkets, etc.)

I didn’t read the introduction right away, because I sometimes skip the text. (Dirty secret time.) Also, I didn’t see it, at first. It wasn’t obviously there.

I was turning the pages gingerly, for a while, believing this was one more book that used double-page, sewn spreads, just to make it seem more significant. Then, halfway through, one of the pages started to come undone. So I pulled it the rest of the way, hoping I wasn’t ruining it. (Again, I don’t get to keep these books. You break it, you bought it.)

To my great surprise, I had stumbled upon a color image of the inside of the makeshift mosque, with many people kneeling on the ground in prayer. Say what now?

I tried the trick again, and found it was, in fact, the way the book was built. Hidden Islam indeed.

The juxtaposition of the banal black and white and the revelatory color images is terrific. Really smartly done. Not something I’ve seen before, at least, not that I can easily recall.

This book is earnest, and means to show us things we cannot otherwise see. And it takes aim at some conservative fat cats in Northern Italy, who don’t allow the migrant worker Muslims to pray in any sort of official capacity. So that’s admirable, as one can imagine some of those power brokers are connected to the Mafia. The Cosa Nostra. Ndgragheta. (Call them what you will.)

I can’t claim that the photos within the book are legendarily good. But they don’t have to be. As I’ve said many times before, a book is an experience, when done properly. And this experience was memorable.

May we all, someday, live in a world where we can worship as we please. A world, I would hope, where murderous psychopaths in pickup trucks have been put in their proper place. (I don’t mean you, ISIS. You guys are swell. If you’re into that sort of thing. It’s all relative, right?)

Bottom Line: Terrific, sly book that shows us private moments of worship

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Tania Quintanilla. Her style is very classic beauty. She has an excellent command of studio lighting and impeccable retouching skills. On set, she is fun but also very focused, she’s a great leader and she knows what she wants and how to get there. In my opinion, she is the best fashion photographer in central Texas and I feel her career is about to take off in other markets in a big way.

This is one of my recent North American Hair Awards (NAHA) images—an ocean inspired hair story.

This was from a test I did recently.

I’m obsessed with religious iconography. Here’s an interpretation of the Sacred Heart.

A hair shoot for NAHA.

For this western wear shoot we intentionally gave the model hat hair.

Hair shoot for the styling director of Aveda, Allen Ruiz.

This was shot for Leaf Camera a while back.

An editorial shot for Austin Monthly last year.

I really love this outtake from a fashion editorial coming out this month—it reminds me of Botticelli’s Venus.

An outtake from a hair shoot. The blackness in this photo..

An image taken for one of my side projects—Dance.

Dance

How many years have you been in business?
My Austin studio opened in 2005, but I’ve been doing photography work since the mid 90’s.

Are you self-taught or photography school taught?
A little of both: I started photographing my friends in makeshift fashion shoots in high school, later one of my teachers encouraged me to go to Brooks Institute in Santa Barbara, CA. I picked up a lot of technical skill at Brooks. When I was there digital SLR’s were just coming out, and they were still teaching us on large format film cameras and darkrooms. It was a really wonderful experience. I took some underwater classes where we would scuba dive near the Catalina islands, and every time you went under with all of your gear you could only shoot 36 frames max. It really taught you to slow down. Back then, instead of experimenting with Photoshop, students would mess around with high sensitive film and cross-processing. I would have to wait at least a week to get the results back from the lab. It’s funny to think that was only 15 years ago.

Who was your greatest influence that inspired you to get into this business?
My early years were heavily influenced by MTV, Vogue magazine, and pop culture generally. My family moved to the U.S. from Monterrey Mexico in the mid 80’s. Whitney Houston and my mom were the center of my fashion universe. Later, my high school photography teacher, Mr. McNichols, showed me how I might make a living from something I seemed good at and enjoyed doing. He was the one who really pushed me to go to photography school.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I view my work as a team sport. I’m easily inspired and aim to be a great collaborator. I surround myself with talented people and we all bring our own experiences and ideas to the game. My job is to collect ideas and stay flexible; I want to be a conduit for the group energy. There are a lot of trends that are hard to appreciate at first– I stay open-minded. Once we put the shot together, if its not rubbing me the right way I can’t ignore it. When it’s right, it feels really right. Like in your guts right. In the end, staying true to myself is where my talents are tested. I get to bring it all home, bring it all together, and that’s the best part.

Do you find that some creatives love your work but the client holds you back?
Sometimes. But coming from a fashion background, having too many people with too many opinions is part of the job description. So I’m used to it. Everyone wants that client with a money tree and a vivid imagination. That’s fun! But I can also enjoy the challenge of a small budget and a big idea. I also like to have really clear communication with my clients from the beginning. I try and always get on the same page way before the shooting starts.

What are you doing to get your vision out to the buying audience?
I shoot a lot of fashion and beauty editorials. That’s my main outlet. In the last couple of months I have started working with a new magazine in Austin. The art director has really let me shape the direction of its fashion section, so I get to experiment with some new ideas that have been calling to me for a while. Of course, I also send out mailers, and work at keeping my book, website, and social media up to date.

What is your advice for those who are showing what they think the buyers want to see?
You’ll never be better at being someone else than you are at being yourself. Shoot who you are, discover and use your voice. When you tap into that inner voice, people naturally want to hear it.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I work out a lot of my creative angst in my fashion editorial work and with my hair clients. And I love to shoot more abstract work, so I carry a small camera around wherever I go. I’m just fascinated with the human face. I paint too, and it’s always portraits. I can’t get away from portraits. I love retouching my own work. I get really into it. When I shoot for my hair clients, I have to pay such close attention to each strand, it’s like sculpting the image after its been captured.

How often are you shooting new work?
I’m either shooting or working on a photo project in some capacity every day. One of my favorite photography teachers, Ralph Clevenger, once told me after a holiday break from school, “If you’re not shooting or thinking about shooting every day then you’re in the wrong place.” There’s so much work that goes into each shoot, and I love to be a part of every step if I can. I never really stop being a photographer. Even if I had to walk around with my eyes closed I would still be dreaming up something to shoot.

——————–

Tania Quintanilla, fashion/advertising photographer and artist, born in Monterrey, Mexico, and now based in Austin, Texas.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information. Follow her@SuzanneSease.

“Having a phone and an Instagram account means that I can create images on my own. When I first started using it a couple of years ago, it reminded me of the 70s, when I first started out in photography. It felt very direct – it was about me taking the image. It felt really authentic. I don’t have a Twitter account because it’s essentially about writing and my focus has always been visual. Instagram felt like the most appropriate way for me to communicate. I also really enjoy the instantaneous nature of it – you can publish images straight away – and get feedback from people across the globe. And I’m really interested in figures who have huge followings – such as Kim Kardashian, Cara Delevingne and Lily Allen. People have so much power to put out a message direct to their fans. It’s almost like when magazines were in their heyday – a printed publication would be where you could get celebrity images. Now it’s been reversed and the next generation is one that is used to getting information from digital mediums. The Diesel campaign acknowledges that and feels completely relevant. This is an exciting time – things are changing and I always think change is good.”

The California Sunday Magazine

While it’s called “The California Sunday Magazine,” you’re also bringing geopolitics into the fold, and you have a different unique editorial architecture as well as distribution. Tell us about it.

We are a general interest magazine focusing on stories, mostly about people, that take place in California, the West, Latin America and Asia. We are on all digital platforms and a printed edition, with a launch circulation of more than 400,000, delivered on the first Sunday of each month with the Los Angeles Times, San Francisco Chronicle, and Sacramento Bee. (And for a limited time, in the Bay Area, with home delivered copies of the New York Times.) We’re comprised of two sections: shorts and features. We are not a service based magazine–we won’t tell you where to eat and where to shop. There are plenty of magazines who do that really well already!

The west coast deserves a good Sunday magazine, how did this emerge?

We emerged from the popular live events series, that our editor-in-chief, Doug McGray started, called Pop-Up Magazine, which is a live magazine which writers, documentary filmmakers, radio producers, photographers, and illustrators perform original stories to sell-out crowds at San Francisco’s Davies Symphony Hall. They’ve had great photographers showing new work on stage — Larry Sultan, Jim Goldberg, Autumn de Wilde, Richard Misrach, Cheryl Dunn, Ron Haviv, Todd Hido, Lucas Foglia. After doing the show for a few years, Doug realized it was strange that California wasn’t home to a big-audience general interest magazine. He loved the sense of community he and the Pop-Up team were building. Fast forward to 2014..and here we are! Doug hired Leo Jung as creative director (formerly Design Director at Wired, deputy art director at The New York Times Magazine) and then I was hired soon after. I moved to San Francisco after working in magazines in NYC for a number of years (W Magazine, ELLE Magazine, and Interview). It’s such an incredible challenge and so unique for a photo editor to help shape what the magazine looks like, from scratch. It’s so inspiring and challenging. When Doug and I first met he said the magazine wasn’t going to have any cover lines. I thought he was crazy. And I knew I had to work with him immediately.

What type of visual stories is the magazine seeking?

We’re always looking for pitches from photographers. It’s not just about beautiful photos — they need to have a sense of story. Photo essays can be big and sweeping and urgent, or they can be small, local curiosities. As you’ll see in our first issue, we will have a mix of established and young artists. I love having that balance. Photographers can email us at art@californiasunday.com to get our contributor guidelines.

Describe your photographic direction for the magazine.

The magazine is made in California. So when it comes to photography, whenever possible we use artists who have a deep, authentic connection to this place, creatively and personally. And that authenticity can be seen in their photographs. We always want to surprise readers. California Sunday imagery will feel cinematic, thought-provoking, not overly stylized or retouched. A sense of place is really important to the magazine, so there won’t be a lot of studio photography. Imagery will feel bright, smart but not pretentious. Subjects will be represented in an authentic, real way. Always accessible, but never dumbed down.

You have a section called “visual short”, is this an opportunity for photographers to pitch you ideas?

Absolutely. Photographers can email us their pitches and links to their unpublished bodies of work.

In each issue we’d like to try and include a visual short. For the first issue we commissioned Will Adler, who is a fantastic fine art photographer. I saw his brilliant series of surf photography at Danziger Gallery in NY–he has such a deep connection to surf and art (his uncle, Tom Adler, is an art director of seminal early surf photography books.) I love his dreamy color palette and he really embodies the feel of the magazine we’re trying to achieve…cinematic and surprising. Will sent us so many striking images it so hard to choose. We chose a different image for the TOC image where the surfer’s body felt quite still, but when you turn to the story its a nice contrast –turbulent and wonderfully disorienting.

Holly Andres shot your cover/feature, virtual reality is a challenging topic to visually cover I’d imagine. Some of her work has a wonderfully unsettling narrative. Why did you gravitate towards her work for this?

I met Holly in Portland in 2011 at the PhotoLucida photo previews when I was at W. She was still focusing primarily on fine art photography. I love how she creates imagery that invites you in and takes you to another world, from an era you can’t quite place…which was perfect for the setting we were trying to create for our cover story, called “The Last Medium,” about virtual reality in Hollywood.

We’re hoping to do something really unique with our covers–immediately after you turn the page we have an inside cover, which is an opportunity to continue the cover on to a spread. We think it sets the tone up front in the way we sequence images, very cinematically. The cover is a young girl at home–wearing a virtual reality headset, then you turn the page and you’re in that alternate world with her. We continued that in the story as well, domestic scenes of the family together, then you turn to the last image and the family is in a bright otherworldly setting…

Often news journalism is about heart break. Omar Lucas photographed Ruth Thalia’s family. Undoubtedly this was important to select the right photographer. It takes a certain type of photographer to gracefully come into a family’s life and capture their sorrow. Why Omar Lucas?

Omar is a Lima-based photographer, and this was his first time working with a foreign publication. It was important for me that whoever was going in to the home where Ruth Thalia once lived, that they understand the sensitivity of the situation. Omar was familiar with Ruth Thalia’s story–it was on the news frequently there–so he made sure to go to their home and speak with them at length before he even picked up his camera.

We teamed LA Times arts writer Carolina Miranda with the fantastic Daniel Shea, who was spending a lot of time out west and inspired by the contemporary arts scene. We decided on a unique approach, featuring artists who were directly inspired by the landscape around them. We used architectural historian Reyner Banham’s four ecologies as a guide.

Over the years, I’ve shot for lots of business magazines, but my favorite was always Forbes. The photo editors were experienced, smart, and nice. They appreciated good photography and they used it well. Not only did they have a reasonable contract, and decent budgets for assignments, but I was often able to generate additional revenue from those assignments by licensing the pictures to other publications or by selling article reprints to the subjects or their companies. However, with Forbes experiencing the same financial pressures that most print publications are facing, their contract has changed dramatically. (After several years on the market, Forbes Media announced recently that a group of investors has acquired a majority stake in the company.)

In an effort to save money on assignment photography (or even make money on it), Forbes has created The Forbes Photography Collection to license pictures generated from their assignments through Corbis Images. They hired Robyn Selman, formerly of Corbis, to guide that process as their Director of Photography. Forbes Media isn’t the first publisher to syndicate their photographers’ pictures (Condé Nast comes to mind), but still, it’s a dramatic shift from the way most magazines and photographers have historically done business with each other.

In a nutshell, here’s how their new contract differs from their old one:

Instead of photographers getting compensated separately for residual use of their photos (including space, foreign Forbes editions, and article reprints), those rights are bundled into a flat shoot fee, and the photographer gets a maximum of 12.5% of third party sales through The Forbes Photography Collection. (The contract specifies that the photographer gets 25% of Forbes’ half of the gross fee when Corbis is the only agent involved in the sale. If another agent gets involved in the sale, the share to the photographer could be less than 12.5%.) From what I gather, the shoot fees are 1000.00 or more (plus expenses) now, as opposed to 700.00/day (plus expenses) against space with their previous contract. It’s hard to compare flat fees to day rate vs. space, but my own experience was that my Forbes assignments frequently generated space rate payments. So while the fees and expenses for the initial shoot may be about the same, photographers are giving up significant money (not to mention control), on foreign editions, article reprints (which are often worth more than the original assignment), and stock sales to the subject and to other magazines.

The flat shoot fee is negotiated for each assignment. In the past, photographers and the magazine would renegotiate day rates and space rates every couple of years (as a practical matter, the magazine would simply have standard day and space rates that they would pay). With this contract, Forbes no longer ties the fees directly to the amount of time it takes to shoot the job or the size/number of photos that appear in the magazine. That’s problematic in several important ways. First, if the value of the assignment isn’t tied to the amount of time it takes to shoot the job or the space the pictures occupy in the magazine, then what will be the basis of that negotiation? Second, putting the photographer and the photo editor in the awkward position of renegotiating the fee for every assignment wastes valuable time and energy at exactly the moment when you need to get a job done fast, and it sets up a regular source of conflict that will have the effect of eroding rather than building and streamlining the relationship between contributor and editor. Third, it creates a conflict of interest between the photographer and the client. It’s natural and sustainable to put the photographer’s economic interests in line with the client’s. Lastly, anyone growing a business (even a freelance photographer), needs to build equity along with revenue. For photographers, the rights to their photographs are their main source of equity.

I can understand Forbes Media’s impulse to capture this additional revenue in the short-term. But is it in their long-term interest?

I’m not sure it’s sensible for Forbes to enter into the business of syndicating photographs. For starters, it’s clearly outside their area of expertise. Though there is a modest amount of residual value to the photos for Forbes, I wonder how much of it is negated by the administrative costs of starting up and maintaining the infrastructure required to support those sales, and the additional up-front fees they have to pay the photographers. Also, the minuscule back-end split they’re offering photographers not only removes any incentive for them to produce lots of excellent photos (which would otherwise earn those photographers space rates and other residual fees), but they’re also making it less attractive for good photographers to work with Forbes in the first place. So the photos they’ll end up with won’t look as good in the magazine and they won’t have as much residual value as they otherwise would. A smarter approach would be to maintain the day vs. space fee structure, and simply lower or raise the fees as their ability to afford high-quality photography shrinks and grows. (Another approach might be to maintain a higher fee structure, and increase or decrease the number of hand-out and stock photos that they use, as their budgets ebb and flow.) Either way, it’s naive to think that you can reduce the compensation to photographers without adversely affecting the quality of their photos.

Here’s the contract. It’s separated into an Artists’ Agreement (which gets signed once), and a Schedule A (which gets signed for each assignment):

If you are a photographer (or a magazine), and need help building an estimate or reviewing a contract, please feel free to contact any of our producers. If you’d like to read more of our Pricing & Negotiating articles, you can find them here.

I have a young student named Montanna. She grew up in the hinterlands of Virginia, but recently moved to the boonies of New Mexico. (Confused yet?)

Montanna often walks 5 miles to and from the bus stop, each way, if she wants to make it to school. She said her folks don’t always have enough gasoline to drive her up the dirt road. Other times, she stays with a neighbor who lives close to the highway.

Yes, we’re living 2014 out here.
I swear.

New Mexico was just ranked 50th out of 50 states in poverty rate, which is nothing to brag about. The allure of the Wild West comes with a price, I’m afraid. And it’s often hardest on the youth.

Montanna is a committed and bright photographer, so I’d be surprised if she didn’t claw her way success. That type of hardship builds character. It etches itself into one’s countenance, like wrinkles on an orangutan’s face.

Co-incidentally, I saw Montanna staring back at me from a sheet of metal, just the other day.

We had an outdoor art festival here in Taos, last Friday evening. The Native American photographer Will Wilson set up a make-shift studio along the main street. A friend dragged me out at night to see it, which was the equivalent of Dracula venturing out in the daytime.

I bumped into several of my students waiting in line, and watched Mr. Wilson make Montanna’s portrait, using the wet plate collodion process. Then they disappeared into his tent/darkroom, along with the Project Runway contestant Patricia Michaels, who was having her picture made at the same time. (Unfortunately, Heidi Klum couldn’t make it.)

The trio emerged, a few minutes later, and Montanna beamed as she held her tin type for all to see. (Yes, it was dark out, but the bright flood lights more than made up for the black sky.) The portrait managed to capture her toughness, her freckles, and her determination.

I have to say, it was remarkable. These are young artists shooting with cell phones, so the old-school technique demonstrated the magic we all remember, back in the chemical days. It was a revelation for them.

The ubiquity of computerized photographs alters how we view historical processes. They become that much more precious, and the labor involved assumes added import. When everything is so easy, why make it harder on yourself?

It’s a fair question, and one that today’s book can help us answer. “On a Wet Bough” is a large, red hardcover by Keliy Anderson-Staley, released by the nascent publisher Waltz Books, in Indiana.

The artist, whom the end notes tell us was raised “off the grid,” has been making tin types for years. According to the text, we also learn she’s extremely prolific, which suggests she’s patient, hard-working, and perhaps a tad obsessed. (She’d probably be a perfect mentor for young Montanna, come to think of it.)

The book is filled with portraits, made in the style of the 19th Century. But these are not pictures we might confuse with olden days. They’re clearly contemporary.

The sitters stare seriously at the camera, with many a mad-dog look in their eyes. Others seem sad, some are contemplative. Did she tell them not to smile? How much time did she spend with each person? Was she trying to capture their individual souls, or is it more about her desire acquire a volume of personalities?

I was startled to see a few photo-world folks looking at me, like Brian Clamp, Doug DuBois, and Christian Patterson. It broke the illusion that these were all strangers, lacking histories I could easily access. I suppose that’s only an insider read, but surely she considered its impact on a certain type of viewer. (Especially as photographers are typical buyers of photobooks.)

Initially, I wasn’t as captivated as I expected to be. Perhaps it’s because the unique quality of the metal object is essentially lost, once it’s digitized and embedded in paper? That would make sense. Making a book destroys the inherent nature of the pictures.

But then I got to a couple of portraits of shirtless men rocking chest hair. What? The texture and the oddity brought me back into the moment. They were great pictures, but also added a touch of funk and originality that was theretofore lacking.

Next, we get to a section of dual portraits and group pictures that definitely had more zing. Why is that? Does Ms. Anderson-Staley have an easier time chatting when there are more people around? Is it just a coincidence?

Frankly, these types of pictures will always be compared with Julia Margaret Cameron. Fair or not, it’s going to happen. It gives me extra appreciation for Ms. Cameron’s relationship with her sitters, that allowed her to make pictures that really do haunt, two lifetimes later.

These pictures don’t rise to that level, but why should they? They’re from another time, and were cranked out by the hundreds. So I think that’s an inappropriate standard. Especially as this is an accomplished project in its own right.

In a book, seen in the LED glow of 2014, the pictures have a weight and a power I think you’ll appreciate. And they stand as a great reminder that hard work is often its own reward, as cheesy at that might sound in our “selfie-ish” era.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Jonathan Hanson as an established Baltimore portrait and music photographer for this column. He is always keeping it fresh by capturing the essence of the real people and urban culture- the charm- of Charm City. All the while, his images still show glimpses of universal human spirit in the subjects and polish of his portraits.

In an effort to create authentic lifestyle imagery I began working with people who I felt embody the lifestyle I’m depicting in my work. Meet Aus and Riss; Aus is in The Creators, a group of artists and hip-hop musicians. Riss is working as a model/stylist as she studies acting. I met the two of them earlier in the year working on my personal project on hip-hop. Shortly after, we teamed up on a commissioned shoot with Adidas.

A hip-hop artist performs onstage during a show at Sonar in Baltimore, MD. This image is from an ongoing series on Baltimore’s hip-hop scene.

Are you self-taught or photography school taught?
I’m mostly self-taught. I feel fortunate photography is an intuitive process for me. I’ve learned the most through trusting my gut, knowing when to listen to others and pushing myself beyond my comfort zone. Facing new challenges is where the real learning takes place for me, that conflict gives life to my work.

Who was your greatest influence that inspired you to get into this business?
I took a trip to Amsterdam with two close friends around the same time I first became interested in photography. A few days into the trip, we were sitting in the courtyard of a café when I noticed a sunflower craning in the warm evening light. I walked over, carefully composed a photo, and as I hit the shutter, a gust of wind blew the sunflower out of frame. I cursed the wind and shot another frame. A few weeks later when I was looking through the film, my first major lesson in photography was staring back at me. The photo where the wind blew the sunflower was far better than what I had composed. I realized there is a crossroads where preparation, chance and being in the right place at the right time come together to create something special. I’ve been obsessed since.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I think it’s really important to live in a community that inspires.
Baltimore has been the backbone of my work since moving here six years ago. The creative energy and abundance of eclectic subcultures offer a constant stream of original work I draw inspiration from.

Do you find that some creatives love your work but the client holds you back?
I tend to get a lot of creative freedom so if issues arise it’s usually with very restrictive editorial contracts that are a fight to get amended or can’t be amended at all. In these instances, I feel held back because the terms are meant to only benefit the hiring company and deny the photographer the opportunity to earn future income.

What are you doing to get your vision out to the buying audience?
I’ve had the most success showing a printed portfolio during meetings with creatives. The prints give the presentation life and dimension while encouraging people to linger over the work. Because of the sheer volume of photos online and the speediness we navigate through them, giving someone a print to hold creates a connection to the work that a digital screen can’t offer. I recently shot a series of projects for Johns Hopkins that were the result of passionately discussing my work over coffee and a stack of prints.

What is your advice for those who are showing what they think the buyers want to see?
A couple of years ago, I met with an art buyer and I brought my freshly printed book full of new work. She quickly pointed out a few images that honestly did not hold up against the others. On the train ride back, I thought about those images and why I made them. I made them to cater to what I thought a buyer wanted to see.

The personal connection needs to be present in the work to take on an authentic, original voice that will inspire people to hire you. This is a business only the passionate and driven can survive. You have to believe in what you do… otherwise, what’s the point?

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Personal projects are the foundation of my work. I’m currently shooting a street portrait series (These City Streets), a portrait series exploring androgyne and I just wrapped up a music video with musician, Al Rogers Jr. I’ve learned more through personal projects than I would through a formal education in photography. More important, each project is a way to reflect personally and question the way I see the world.

How often are you shooting new work?
I’m shooting new work every week either personal or commissioned.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information. Follow her@SuzanneSease.

(Grete Eliassen) Grete is the best all around female skier I’ve ever seen but the truth is I’m always excited to bring out her feminine side and show her in another light. 99.9% of the time she’s in a helmet or ski gear but for this moment I got her to wear a dress. Originally she wasn’t quite feeling it (mainly because of the cold) but I said when you see the image that’s in my head, this will be the photo you show your grand kids to remind them how beautiful you were.

(Louie Vito) ​Louie is probable the best athlete I’ve ever shot. He is always early, always cracking jokes, always making people feel at home which was the beauty of this shoot. I got to turn Louie into someone else besides “Mr. Nice Guy”. I love the camera for the simple fact that you can take a person’s persona and flip it on it’s head.

(Bobby Brown) I’d never met Bobby before but he was a consummate pro. He cared just as much about the portrait process as the action photos which is rare for an action sports athlete.

(Greg Bretz) Greg was pretty much in a media sponsor frenzy when I shot these photos. He looked to be the first lock on the Olympic Halfpipe selection and you could tell he had alot of interviews on his plate. Pretty much the last thing you want to hear as a snowboarder is “some guy from New York” is here to take your photo. That usually equates to “guy in the sky” and missed grabbed photos with poor style. Two things the core audience of snowboarding hates. I try to stay true to my roots and remember where I came from so I made it quick for Greg and got these shots in 2 takes. I saw Greg at breakfast later that week told him, by the way, I shot snowboarding for 15+ years and I grew up in Alaska.

(Arielle Gold) ​For this shot I literally introduced myself on the side of the halfpipe. “Hi I’m Stan Evans and I’m here to shoot your portrait for Red Bull!” This was during practice for the final so I would literally caught her hiking to do another run. I was actually lined up on the wrong wall for her action shot and practice ended so I hustled back up at night time (about 10 degrees) and got the action portion of her then.

(Nick Goepper) Sometime in all the seriousness of preparing for the the olympics we forget these are kids. So for Nick’s shoot it was all about fun. It was pretty fun convincing him to do a cartwheel in ski boots and he had the biggest grin when I asked him to backflip with my camera. He asked, “what happens if i wreck?” I told him I have insurance…. but don’t wreck. (it’s a canon 5d mark II in his hand that I remote triggered from the ground) If you look closely you can see me bottom left.

Heidi: Had you pitched Red Bull projects previously? Or was this the first open assignment with them?
Stan: Yes, here’s a list of what I had pitched and executed for them:
Grete Eliassen Movie: “Say My Name”
Travis Rice portraits: “That’s it, That’s All”, Mainstream Media ( below )

Edwin De La Rosa: BMX Portraits ( below )

For Travis Rice, “That It, That’s ‘s All” I shot test samples and had meetings with Travis, Brainfarm Producers and Red Bull, the goal was to shoot for a mainstream audience so it wasn’t as much about his performance on a snowboard as it was building a compelling character.

The pitch for Grete’s movie actually took about 8 months. It ended up being a two year project We created a teaser and photos compiled of Grete adventures of what logged the first year and coordinated it with outlets that had already expressed interests in the project and projected views. Grete, Adam Bebout, her regional athlete Manger and I flew down to Red Bull and we pitched in person. They warmed up to it a bit but what took it over the top was the hip jump idea. It was something that differentiated it from other female ski projects and opened the appeal to a larger audience. The general public might not understand skiing but the idea that a woman could fly 30+ feet in the air and create a world record was something a lot of people could be excited about.
Here’s a few pages from the Virulence Report from my office which was for interest in the movie before hand. After Grete’s hip jump/world record the impressions were 33 million the first month by Red Bull’s analytics team.

What were the directives from the brand?
Red Bull wanted portraits that were compelling to mainstream media but could still live within endemic media. Logo placement is always imperative but I try to blend it subtly. It was nice because action was secondary but I think being able to handle both sides of the spectrum was a large selling point for them.

My guess is you’re also an athlete adventurer. How does that play into your work?
I love the outdoors and being a part of the action but being snowboard photographer started to take it’s toll. I actually was in a car accident on my way to filming a part of Grete’s movie. I chipped off a piece of bone in my kneecap and after 6 knee surgeries I was ready to take a different direction so I started focusing on portraits. If anything I’ve probably toned it down a bit. It lets me see more of the quiet moments between the action and helps humanize people. I still love risky jobs and exploring in that I connect with the subjects because they realize I know what they are going through and as a photographer, I’m trying to make them look their absolute best.
The biggest oxymoron is being on a set in NYC where people act as if something goes wrong someone might die as opposed to being on the side of a mountain in Alaska where someone actually could die.
For example, before Kevin Pearce there was Timmy Ostler. Tim was an amazing snowboarder that I was shooting at Park City. He had a freak fall in the halfpipe, was heli-evaced and consequently paralyzed from the waist down. Those moments change you. I’m not trying to be a downer but those moments make you realize what’s at stake on set or in the studio. I’m so thankful I get to do what I do, and I try to remember that, as well as remind those around me. Positivity and being happy to be there are a huge part of my shoots because in the back of my mind I realize, this can all be taken away in an instant.

What was the biggest hurdle with the assignment?
Weather is always a factor. For the Grand Prix it snowed ton during qualifiers and people could barely get speed for jumps. It made for pretty lackluster action and inopportune for some of the locations I had scouted. I usually try to have a plan B – get creative and adapt. Grete’s location was really the only specific parameter I had to nail. Schedule was probably the other, many of the athletes had overlapping practice or events, other sponsor commitments and competing with television and other media outlets . But sometimes that worked out. I met one of the hosts for NBC and showed him some of the photos of Louie. They ended up using them in a “Road to Sochi” spot so turnaround was quick and I caught a lucky break.

How long did you spend with the athletes in order to capture the non action side of them?
Sometimes 5 – 10 minutes, sometimes days.
I had a hard time tracking down Arielle Gold. I literally saw her at the halfpipe, introduced myself, shot her portrait and action on the spot. For Louie we actually talked quite a bit and he invited me to his home. I was immersed in his training regimen. I ate what he ate. Woke up when he did and would get the gym before him to set up. It made for an amazing experience and it shows in the photos. We ended up having a great spread of photos of everything he did but the edit focused on his physique.
Grete is beautiful woman and was probably the most challenging yet rewarding to shoot. I wanted her to look feminine and have the environment and props tell the story. She really is standing in the woods in 15 degrees with a pair of skis in a dress. That’s amazing trust.
Bobby Brown was probably my favorite though. I had him for about 45 mins. Once he came on set he was invested. He was so curious about the process and how he could help make the shot better. Never looked at his watch, never told me he had places to be. A consummate pro – I was really happy he fought through some injuries and made the Olympic team… I’m a Bobby Brown fan for life.

If you want to comment on the “Directive for Commercial Filming in Wilderness; Special Uses Administration” that was widely reported to allow charging people $1500 to take photos on federal wild lands you can do so here (deadline extended to Dec. 3):

After receiving complaints about a proposal to require photographers to have a permit to shoot on federal wild lands, the U.S. Forest Service says it will make some changes to ensure it doesn’t violate First Amendment rights.

And that the news media and private individuals will not be asked to apply for a permit to take pictures.

—————

Directive for Commercial Filming in Wilderness; Special Uses Administration

This Notice document was issued by the Forest Service (FS)

Action

Notice of proposed directive; request for public comment.

Summary

The Forest Service proposes to incorporate interim directive (ID) 2709.11-2013.1 into Forest Service Handbook (FSH) 2709.11, chapter 40 to make permanent guidance for the evaluation of proposals for still photography and commercial filming on National Forest System Lands. The proposed amendment would address the establishment of consistent national criteria to evaluate requests for special use permits on National Forest System (NFS) lands. Specifically, this policy provides the criteria used to evaluate request for special use permits related to still photography and commercial filming in congressionally designated wilderness areas. Public comment is invited and will be considered in the development of the final directive.

Dates

Comments must be received in writing on or before November 3, 2014 to be assured of consideration.

Addresses

Submit comments electronically by following the instructions at the federal eRulemaking portal at http://www.regulation.gov or submit comments via fax to 703-605-5131 or 703-605-5106. Please identify faxed comments by including “Commercial Filming in Wilderness” on the cover sheet or first page. Comments may also be submitted via mail to Commercial Filming in Wilderness, USDA, Forest Service, Attn: Wilderness & Wild and Scenic Rivers (WWSR), 201 14th Street SW., Mailstop Code: 1124, Washington, DC 20250-1124. Email comments may be sent to: reply_lands@fs.fed.us. If comments are submitted electronically, duplicate comments should not be sent by mail. Hand-delivered comments will not be accepted and receipt of comments cannot be confirmed. Please restrict comments to issues pertinent to the proposed directive, explain the reasons for any recommended changes, and, where possible, reference the specific section and wording being addressed.

All comments, including names and addresses when provided, will be placed in the record and be made available for public inspection and copying. The public may inspect the comments received at the USDA Forest Service Headquarters, Sidney R. Yates Federal Building, 201 14th Street SW., Washington, DC, in the Office of the Director, WWSR, 5th Floor South, during normal business hours. Visitors are encouraged to call ahead to 202-644-4862 to facilitate entry to the building.

For Further Information Contact

Elwood York, WWSR, at 202-649-1727.

Individuals who use telecommunication devices for the deaf (TDD) may call the Federal Information Relay Service (FIRS) at 1-800-877-8339 between 8:00 a.m. and 8:00 p.m., Eastern Standard Time, Monday through Friday.

Supplementary Information

1. Background and Need for the Proposed Directive

The proposed directive is necessary for the Forest Service to issue and administer special use authorizations that will allow the public to use and occupy National Forest System (NFS) lands for still photography and commercial filming in wilderness. The proposed directive FSH 2709.11, chapter 40, is currently issued as the third consecutive interim directive (ID) which is set to expire in October 2014. The previous directive addressed still photography in wilderness and did not provide adequate guidance to review commercial filming in wilderness permit proposals. The notice and comments are collected and used by Forest Service officials, unless otherwise noted, to ensure the use of NFS lands are authorized, in the public interest, and compatible with the Agency’s mission and/or record authorization of use granted by appropriate Forest Service officials.

2. Overview of Proposed Directive, FSH 2709.11, Chapter 40

The Forest Service is requesting public input with respect to Agency policy. Our intent with the issuance of this notice of proposed directive is to consider such input and, as appropriate, incorporate it into future policy. Certain suggestions, whether due to legislative or other limitations, may not be implemented through Agency policy, and we wish for the public to understand that as well.

The current language has been in place for 48 months. This proposal would make permanent guidelines for the acceptance and denial for still photography and commercial filming permits in congressionally designated wilderness areas.

Section 45.1c—Evaluation of Proposals

This proposed section would include criteria in addition to that of still photography to incorporate commercial filming activities. Furthermore, the Agency is proposing to clarify when a special use permit may be issued to authorize the use of NFS lands if the proposed activity, other than noncommercial still photography would be in a congressionally designated wilderness area.

The proposed directive for FSH 2709.11, chapter 40, section 45.1c is as follows:

45.1C—EVALUATION OF PROPOSALS

A special use permit may be issued (when required by sections 45.1a and 45.2a) to authorize the use of National Forest System lands for still photography or commercial filming when the proposed activity:

1. Meets the screening criteria in 36 CFR 251.54(e);

2. Would not cause unacceptable resource damage;

3. Would not unreasonably disrupt the public’s use and enjoyment of the site where the activity would occur;

4. Would not pose a public health and safety risk; and

5. Meets the following additional criteria, if the proposed activity, other than noncommercial still photography (36 CFR 251.51), would be in a congressionally designated wilderness area:

a. Has a primary objective of dissemination of information about the use and enjoyment of wilderness or its ecological, geological, or other features of scientific, educational, scenic, or historical value (16 U.S.C. 1131(a) and (b));

b. Would preserve the wilderness character of the area proposed for use, for example, would leave it untrammeled, natural, and undeveloped and would preserve opportunities for solitude or a primitive and unconfined type of recreation (16 U.S.C. 1131(a));

c. Is wilderness-dependent, for example, a location within a wilderness area is identified for the proposed activity and there are no suitable locations outside of a wilderness area (16 U.S.C. 1133(d)(6));

d. Would not involve use of a motor vehicle, motorboat, or motorized equipment, including landing of aircraft, unless authorized by the enabling legislation for the wilderness area (36 CFR 261.18(a) and (c));

e. Would not involve the use of mechanical transport, such as a hang glider or bicycle, unless authorized by the enabling legislation for the wilderness area (36 CFR 261.18(b));

I was sitting in a Mexican restaurant the other day. My Dad was across the table; we were both a little sketched out. The joint seemed like a front for the mob: dirty, empty, and unintentional.

Dad was buying with a coupon, so I guess I already appear ungrateful. Which might end up as the theme of the column, when all is said and done. (Yes, that is foreshadowing.)

We were waiting for our tacos when the door flew open. Dramatically. In stepped a very large, crew-cut, blue-eyed man dressed like rancher, in jeans and a Western shirt. He was sporting a baseball cap that made reference to Texas. (I couldn’t say beyond that, exactly, as he was moving rather quick.)

Behind him marched a procession of five children and a wife, all wearing homemade long dresses and bright-white bonnets. They looked Amish, or like refugees from a compound in Utah that they featured on “Big Love.” It was a little bit Kubrick, to say the least.

Stranger still, once they got settled, the big man began speaking, very loudly, to two Mexican men, the only other patrons in the place. Fluently. In Mexican-accented Spanish.

I did a triple-take.

Odder-yet-still, within five minutes, he began singing. In Spanish. At the top of his lungs. In the middle of lunch.

What?

I had no frame of reference.

Sometimes, life catches you by surprise, like a leopard pouncing on a lady who’s just out to wash the laundry. There’s no way to prepare.

That’s how I felt when I opened up the new Stephen Shore book, “From Galilee to the Negev,” recently published by Phaidon. Wouldn’t you know, it was the next book on my stack, after last week’s genius Israel offering by Rosalind Fox Solomon.

Stephen Shore, doing Israel, for the “This Place” folks? How lucky was I? How lucky are you?

Awkward silence.
Fingers pausing on the keyboard.
How to proceed?

All right, I’ll just be honest. I found this book less-than-enthralling. Slightly under-dramatic. It’s hard to believe he’s covering the same country as Ms. Solomon. No sooner than I’d written about the tension in the air, the vibe pulsing through everything in its path, than I open up this book.

I know, many of you will consider it blasphemous that I’d even hint at criticizing a master of the medium. A member of the metaphorical Mt Rushmore of 20th Century photography. How dare he, you might think.

I get it. That’s why I chose to review the book, if you call this a review. I’ll let you see some photos and make up your own mind.

Mr. Shore, at his best, managed to squeeze deep pathos into the most meaningless of situations. That’s his hallmark, a level of perception that supersedes mere mortals. Not to mention his subtlety with color, and super-sharp large format negatives.

In this book, there is not a lot of life. (No chutzpah, if you will.)

What happened?

I couldn’t tell you. Which makes it interesting. How does a great artist go to a fascinating place and not make fascinating pictures? How did Baz Lurhmann’s “The Great Gatsby” end up so bad I couldn’t make it 10 minutes into the film?

Not to suggest that this book is bad. It’s not. It just depicts a place entirely more placid than in the books I reviewed by Mr. Brenner and Ms. Solomon.

Am I an ingrate? To expect greatness from a great artist? Are average fish tacos worth it, if you don’t have to pay for them? Did that big Texan break his family out from some Branch-Dividian-esque compound near Waco?

I have no idea.

If I were a betting man, I’d say they were his kids, he does ranch work near the Mexican border, and makes his family dress differently than he does. I’d also bet that Mr. Shore enjoyed making these pictures as much as he did in his stuff from the 70’s.

It’s hard not to see this project as something like the Rolling Stones might make at this stage of their career. They keep touring, and people keep buying tickets to hear “Satisfaction” in person. Their fans are thrilled to get the experience, and consider it money well spent.

Am I being unfair to Mr. Shore, when I compare his book directly with two others that were made in the same place? Or by expecting his work to reach the same heights it did years ago? Are these questions worth asking?

Let’s finish by wishing you a Happy New Year. If you celebrate that sort of thing.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Joseph Puhy because he is absolutely darling.

The Duke Boys!! It was a dream come true working with my childhood heroes during this project for Doner and autotrader.com

While documenting the chaos of running a mud bog on the set of the Animal Planet series, Mud Lovin’ Rednecks, I caught this tender moment between father and son.

A personal project, inspired by one of my favorite dirt bike riding locations, created this late afternoon situation for a great image.

For Dry Kounty’s look-book shoot, we decided to use actors as models in vignettes to embody the personality of the brand.

In collaboration with the model, my original concept morphed into this quirky portrait.

Using the model from the above (image 5), I highlighted his versatility in relation to our location. I love environmental portraits.

Reflective of my personal style, this is one of six ads shot for the Woo Agency and Lenovo.

As with the above (image 7), there was an easy rapport with the Art Director for this Lowe CE agency Ghirardelli Chocolate ad.

How many years have you been in business?
19 years total, including assisting which started in high school, but shooting consistently the last seven years.

Are you self-taught or photography school taught?
I graduated from Brooks Institute of Photography in Santa Barbara, back in the days of film and Polaroid. I’ve taught myself everything digital since my days in the darkroom.

Who was your greatest influence that inspired you to get into this business?
First off, my father was a Creative Director, so there was endless reference material at home to get lost in; art, photography books, art publications like Zoom and Lurzer’s Archive. Also, he’d take me out on shoots during the summers. Next, it was the photographers I worked for on summer breaks in high school and first years at college. They introduced me to the craft of photography, lens choice, lighting, processing, film stocks, and how it all tied together. There was a real sense of alchemy that I couldn’t figure out but was drawn to. That’s the reason I decided to go to Brooks and learn the technical aspects of photography.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
It’s a balance that I’m constantly refining. Luckily, now I have a body of work where I can throw a few curve balls into a commercial book. A balance between execution, observation, and subject matter.

Do you find that some creatives love your work but the client holds you back?
Yes, to a certain extent. Not so much when shooting the job, because at that point it’s a collaboration, more in trying to get the job. I’ve found that having great relationships with creatives, buyers and producers has gotten me to the table to bid on some amazing projects but often lose out to a “bigger name photographer” based on the client’s recommendation. In the end it’s their money, and they need to make the decision that’s best for them. I just keep pushing forward to the next opportunity.

What are you doing to get your vision out to the buying audience?
First, I try to meet face-to-face with agencies where I might be a good fit. That can be a difficult process, but I think that when meeting someone in person, they can get a better sense of what I’m about. I participate on many marketing sites, and was recently invited to be a part of At-Edge.

What is your advice for those who are showing what they think the buyers want to see?
You better like it too. You have to show work that you want to produce.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I do personal projects for promos. If there is time on jobs and the situation allows for it I try to do a version for myself.

How often are you shooting new work?
Every month.

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I am a Los Angeles photographer that works with a wide range of clients from commercial to editorial. My style has a natural aesthetic with a cinematic approach. I capture moments of people and things relating to their environment, either in harmony or discord. That relationship tells stories worth sharing.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information. Follow her@SuzanneSease.

Heidi:Once your direction was set to show a package of pills received by mail, what were the next steps in the creative process and what was your time frame?Gail: The next steps were deciding how we wanted to the package to look, thinking about what type of image would best convey our message and then figuring out the best person to shoot that kind of image. We were on a pretty tight time frame, as we usually are since the magazine is weekly. We had about five days to pull the shoot together.

Was it this body of work (My Parents Love Letters ) by Johnny Miller that convinced the team he was right for the project? Were there any other considerations and made you choose him? See the full gallery hereYes, this was the body of work that made us think of him. We wanted the image to feel very natural and dimensional – to walk the line of being a conceptual image but with the feel of something real. Our photo department had been looking for an opportunity to work with Johnny, and Christine Walsh (the photo editor on the project) and I thought he would be great for this because his work is clean and graphic but still personal.

I loved the small tear in the cover where the bottle is, what other details were taken into consideration to make this image come alive?A simple image like this is all about the details, so we paid a lot of attention to them. We hired stylist Randi Brookman Harris, with whom we’ve collaborated quite a bit. She sourced a number of different kinds of envelopes and adjusted them to fit the proportions of the cover. We also designed cancellation and metered postage stamps from India (the point of origin for the packages mentioned in the story) and Randi commissioned rubber stamps of them to be applied to the envelopes. We estimated how much a package like this would weigh and accounted for that when fabricating the metered stamp. Randi applied both stamps to the modified envelopes somewhat haphazardly to approximate the way they would appear if they had actually gone through the postal service, and she applied unequal pressure so the ink would vary in density. We placed a square box in the package to give the impression of the volume of the pillbox and began shooting. As the shoot progressed, we also tried versions where we beat up the envelope more, adding wrinkles and smearing the stamps to give the impression that the envelope had been through the mail.

I know from working at news organization there’s prestige and a social responsibility that comes with designing news journalism. How has your role as the Art Director shaped you personally?There is definitely a social responsibility aspect to working for The New York Times. While there is always a craft and attention to aesthetics that is part of what art directors do, there are also many other considerations when designing news. Under the best circumstances the most eye-catching design is tonally on target, the most arresting photographs correspond with the narrative of the piece, and the most graphic concept for a cover accurately captures the main point of the story, but in cases where that doesn’t happen, conveying the intent and message of the writing sometimes wins out over the aesthetic considerations. I have learned to look past my own viewpoints on the subjects we cover and see the story from varying angles. And in some cases, it’s necessary for me to temper my own goals for the visuals of a piece with what is right for the magazine and the brand of The New York Times. My view of visual story telling and journalism has become much more nuanced.

While I was at The Los Angeles Times Magazine I remembered having moments of being semi paralyzed and in awe of the amount of news being produced on a daily basis. How does the volume of news and your acute awareness effect you as a mother?The amount of news being generated a daily basis is absolutely dizzying. Particularly in this moment when digital access means that our choices of where to get information have multiplied exponentially. As a mother, I sometimes worry about the easy accessibility of news that is increasingly more violent and graphic. I want to protect my 5-year-old son’s innocence while I can, so I make efforts not to watch or listen to the news around him, because the coverage can quickly shift from a benign topic to something that could be scary for a little person.

However, I’ve also seen the upsides to the kind of instant access to news and information that we now have. It’s great to be able to satisfy a curious mind not only with a verbal explanation, but also with images. Particularly for a very visual learner like my son. That has never been as easy to do as it is now. As with everything, we take the good with the bad.

From Paul Melcher’s blog “Thoughts of a Bohemian”

since editorial photography’s dominance in our cultural landscape diminished, the advertising world had to look elsewhere for inspiration. No longer can they count on their magazines to give them a hint on what type of photography is successful. Instead, they turned to the new trend indicator : Social media.

It will not be surprising, it is happening already, to see editorial photography influenced by brand photography. In an effort to keep pace with current trends, online and print publications are more and more looking into what works for brands and applying it to their spreads.

For now, we still live in a world slightly dominated by editorial photography, only because of cultural habits. But deeper, the evolution has already happened and is progressing with patient obstination.